Gehenna (episode)/Transcripts
| }} /Credits|Credits}} /Gallery|Gallery}} /Transcript|Transcript}} }} Episode *Gehenna (episode) Transcript Scene 1 :GEHENNA :(4C01) :SAN FRANCISCO :Several young men, in two cars drive to secluded wooded area, with Cypress Hill rap music (from the Black Sunday CD) blaring from their radios. Music, "Insane in the Membrane" continues throughout. :{Music: "Insane in the brain, in the brain! Insane in the brain, in the brain! Insane in the brain... "} :they arrive, one man gets out of the lead car and heads off to meet with some other men. :{Music: "Like Louis Armstrong, plays the trumpet, I'll hit that bong & break ya off something soon! I got to get my props. Cops, come and try to snatch my crops! These pigs wanna blow my house down, head underground, to the next town... "} :the young man comes running back to the car, the driver turns to his three passengers in the rear... :DRIVER: The Dark Prince returns. :of the men in the rear, sitting on the right, is drinking a beer. He and the one sitting on the left, are rocking to the music. But the middle one, seems nervous, frightened. :{Music: "They get mad when they come to raid my pad And I'm out in the night blue scad... "} :LEFT MAN: Yes. :{Music: "Yes, I'm the pirate, pilot of this ship... ultraviolet dreams... "} :D.P. (Dark Prince) has returned with the drugs he has purchased. :D.P.: Tickets to the horror show. :{Music: "Hide from the red light beams. Now do you believe in the unseen?"} :hands a small folded foil packet to the driver. The driver holds the packet up so that the rear passenger in the middle can see it. :{Music: "Look, but don't let your eyes strain. The next one of me is going insane... "} :D.P. walks around the car to get in again, then both cars drive off. {Music: "Insane in the membrane, insane in the brain!"} :driving, the D.P. opens the packet to reveal a blotter of LSD. The music is still Cypress Hill but now it's 'I Wanna Get High' (same album). :{Music: High so high. I wanna get high so high. I want to get high... "} :tears off a dot and hands it to the edgy passenger sitting in the rear. :D.P.: Fetch the paper, Eedo. :{Music: "... so high."} :takes the bit of paper and chews it as the man on the left barks at him. :{Music: "Well that's the funk elastic, the blunt I twist it. The slamified, boodified, funk on you desk, yes... "} :continues in the background. :cars continue until they reach an abandoned industrial plant. Both cars begin to circle as we see someone else. We watch from his vantage point high above. It is very dark, the only light visible is that from the cars themselves and whatever is reflected on the wet street. The man watches them with night-goggles. :the cars stop. We see the man with the goggles head-on and then we see through his goggles the cars down below. :of the men, from both cars, get out and begin whooping and hollering, taunting the man who has taken the LSD, as he staggers from the car. They encircle him and as they begin barking at him, he hallucinates that their heads become those of vicious dogs, each one barking and threatening him. :of the men quietly speaks to him. :MAN: Hey, man. Run! :EEDO: What? :by now is perspiring heavily and is confused by the drug. :of the men, except Eedo, get back into the cars. As Eedo tries to get into one of them, he finds the doors locked. :EEDO: Hey! :same man who offered Eedo the advice to run, just stares at him but does not unlock the door, then he looks away from him. :cars begin circling him. Most of the occupants begin whooping at him again, hanging out the car windows and waving their arms at him. Eedo becomes even more disoriented until finally he runs off in one direction into one of the buildings. :is another view through the goggles from above as the man clearly is following Eedo's actions. :the building, there is a lot of water which is falling from above. Eedo is standing in a large puddle of water and looks up to watch it fall. :his hallucinations, he sees the man who has been watching him from above, jump down on him but - he sees instead some kind of creature with wings and fangs descend upon him. :are screams and growling throughout. What follows is a quick succession of images: a bright white light, as the man jumps down on Eedo (his POV); Eedo sees the face of a demon-like creature with fangs; an image of the man with his goggles still on, his face is partially obscured by a bright white light which 'morph' into his teeth; Eedo is seen writhing in pain on the ground; rapid images of part of the creature's face, his open mouth and fangs, all attacking Eedo; Eedo on the ground in pain; the man with the goggles; the fangs; several images of the creature; Eedo still moving; the man with the goggles awash in white light, striking, biting, clenching his teeth; the fangs; more images of the creature; Eedo screaming; the creature again; Eedo again, blood on his nose and mouth, his arm is seen, then his right ear; the creature, his long fingernails outstretched, ready to strike. :to black :titles :"I smell blood and an era of prominent madmen" W.H. Auden :fade up Scene 2 :outside the Black residence. Frank comes out of his house, skips down the steps and walks round to the side of the house where a ladder stands leaning up against it. :climbs up with a pair of light bulbs in one hand. When he reaches the top, he screws one into a light fixture. As he does so, neighbor Jack Meredith walks up to greet him. :JACK: Hi there, Frank! :Frank turns and looks down at him. :JACK: Saw you working up there. Putting in a security light, eh? :screws in the second bulb, then takes out a screwdriver to make some minor adjustments to the fixture. :FRANK: The days are going to start getting shorter. It'll be nice for Catherine, if she comes home from work late. :JACK: Ooo! Your wife got the job! :FRANK: Yeah. :JACK: Ah, terrific! Yeah, uh, what is the name of what she does again? :with his adjustments, he begins to come down the ladder. :FRANK: She's a clinical social worker. :JACK: Right. (laughs) So, you got all the tools you need there, Frank? :on the ground again: :FRANK: Yeah, I think I'm all squared away, Jack. :comes out of the house. :CATHERINE: Frank. :FRANK: Yeah. :CATHERINE: Got a phone call. :heads for the door. :CATHERINE: (to Jack) Hi. :JACK: Hi. :Jordan is playing with Ben, the family pet dog. Ben is barking as both of them ramble down the stairs. :JORDAN: Come on, Benny! Let's go outside! :both run past the door, Jordan still calling after the dog, as Frank opens it, enters the house and picks up the phone on the table. :FRANK: Hello. :WATTS: Hello, Frank, it's Peter Watts. :perspective does not leave Frank. Watts's voice is heard but he's never seen. :FRANK: Yes, Peter. :WATTS: Frank, I'm down in San Francisco. :enters the house. The door has been left wide open. She closes the door. :WATTS: I got what could be a multiple homicide here - possibly something a little more involved. :FRANK: Do you want to send me the details? :WATTS: I could do that, Frank, but the lack of detail has created a high level of concern. I really think we could use you here. :FRANK: Right. I'll make the arrangements. :hangs up the phone. :CATHERINE: Was that someone from the Group? :FRANK: They've got something for me to look at down in San Francisco. :CATHERINE: Soon? :FRANK: Right after I finish wiring up that light. :heads back out the door. Scene 3 :Francisco. Day, a public park. Two police squad cars are at the scene. An officer is interviewing a woman. Frank pulls up in a rented car. Watts is talking with a number of local detectives. :DETECTIVE: Well, we're set. :FRANK: Peter. :WATTS: Frank. :shake hands. :WATTS: How was the trip? :FRANK: Good. What do you got? :they walk along, they pass a large row of red rose bushes, in full bloom. :WATTS: Members of the gardening club noticed that ashes were being deposited in the park rose beds over the past few weeks. One of them notified the detectives this morning when she found this. :both crouch down as Watts pushes back a branch from a rose bush to reveal a human ear on top of some ash deposited there. An ant is crawling all over it. :WATTS: It appears to be adult. A good portion of the interior helix is still intact. I think we can get a nice impression of the remaining auricle. There's a lot of ashes that have been dumped around here, Frank. :thinks for a moment, then flashes quickly on some images. :hears screams and sees: flames; someone is screaming behind a glass; a bright white light; someone being burned alive behind a closed door; the face of a man, his mouth wide open, teeth and face covered with blood; a partially obstructed image of the creature? End of vision. :WATTS: Local P.D. thought it might be a case of illegal crematory dumping. :FRANK: :(interrupts) No, he - :vision: bits and pieces of many images, all blurred until: a man, eyes wide with terror, his hand raised and placed on the glass and more flames. End of vision. :WATTS: He's what, Frank? :FRANK: The killer knows the victim. He wants to watch him suffer. :WATTS: I think there are multiple bodies here, multiple victims. What's he using, a crematory oven? :another vision: a man screaming, his mouth and teeth covered with blood; a close up of his mouth and teeth, again, covered with blood; his eyes wide with fear and pain; a shot of the man, mouth wide open, screaming behind the glass, mouth covered with blood, as the camera pulls back; his hand finally falling from the glass. End of vision. :FRANK: (whispers) I think it's important to him that he burns them alive. :WATTS: (also whispers) Why? :FRANK: I don't know. :both finally stand upright. Scene 4 :outside the Black residence. Inside, Jordan's bedroom. Benny is licking Jordan's ear making the child giggle. Her mother enters the room. :CATHERINE: Okay, what's going on in here? :JORDAN: Benny's giving me kisses! :CATHERINE: Well, there's way too much fun going on in here. Okay. Ben, bedtime, downstairs, bedtime. :lifts the dog off the bed and shoos him out of the room. :CATHERINE: Thank you, thank you. (to Jordan) And you … (to the dog). :JORDAN: Mommy, when is Daddy coming home? :CATHERINE: I don't know, honey. I'm sure he'll be home soon. Maybe tomorrow. :JORDAN: Is he working? :CATHERINE: Yes. :JORDAN: Catching the bad man? :CATHERINE: If there's a bad man, I'm sure Daddy's going to catch him. :smiles. :CATHERINE: Now, I want you to close those eyes and count as high as you can, okay? :JORDAN: 'Kay. :kisses her on the cheek as Jordan begins to count aloud. :JORDAN: One, two, three, four, five, six, seven, eight, nine, ten... :shuts off the lamp on Jordan's nightstand as Jordan continues to count. :JORDAN: ... eleven, twelve... :notices the lights down below, which Frank has just installed and which are motion-sensitive, have turned on. :JORDAN: ... thirteen, fourteen, fifteen... :walks over to the window. :JORDAN: ... sixteen, seventeen, eighteen... :reaches it and looks down below. :JORDAN: ... nineteen, twenty-one, twenty-two, twenty-three, twenty-four... :is no movement down in the yard yet the lights are still on. She pulls the shade down. :JORDAN: ... twenty-five, twenty-six, twenty-seven, twenty-eight, twenty-nine... :another room downstairs, Catherine walks to the window and looks up at the light which finally goes off as she lowers the shade. :then the phone rings. :CATHERINE: Hello. :FRANK: Hi, it's me. :lets out a deep sigh. POV shifts to Frank. :FRANK: What, what's wrong? :is in the forensics lab in the San Francisco P.D. The camera cuts back and forth between the two during their conversation. Frank walks around the lab during the phone conversation. :CATHERINE: Uh, nothing, I, um, I just got a little spooked by the new security light. :FRANK: What happened? Are you all right? :CATHERINE: I'm fine. It just went on and I'm sure it was just a cat or something. :FRANK: I- I'm sure it's nothing, honey. It's just an adjustment. You guys all locked up up there? :him someone has entered the lab with several large boxes stacked on a hand truck. :CATHERINE: We're fine, Frank, really. It's a perfectly safe neighborhood. :shifts to Frank at the lab as the other person who entered the lab turns out to be Peter Watts. :WATTS: Frank. :gestures that he wants Frank to come over and meet the man with him. :FRANK: (to Catherine) I got to go. You want me to call you back? :CATHERINE: No. Did you catch the bad man, Frank? :FRANK: No, but we will. :CATHERINE: I know. :FRANK: (whispers) I love you. :hangs up the phone and walks over to Watts and the other man. :WATTS: Frank, this is Jim Penseyres. He worked at VICAP just after you left. I don't know if you ever met. :FRANK: No, hi. What'd you find? :shake hands. :PENSEYRES: Excavation of the site is incomplete - :digs into his jacket pocket for a box cutter, opens it and uses it to cut open the topmost box of the pile still on the hand truck. :PENSEYRES: - pending a problem with the parks department. But I think we were able to separate out most of what there was there in the plant beds. Thirty-nine pounds of carbonized human remains, roughly the equivalent of seven adults. :the box is an evidence bag filled with ashes which Penseyres rips open. Frank stares into the ashes. :has another brief vision: the same man, mouth and teeth covered with blood, screaming, eyes wide with terror; a clearer image of the man, same condition as described above with his hand and face pressed against the glass but the door is more visible this time; camera zooms in and out on his face, alternating with bright white flashes of light. End of vision. :PENSEYRES: Dating is difficult but there appeared to be a defined stratum which would indicate more than one deposit. :FRANK: What else? :PENSEYRES: The remains are clean, by that, I mean uniform, no large fragments. Apart from the partial ear - :again stares into the box and has another vision: a flash of white light; the man screaming; black screen; the man screaming again, blood visible from his nose, mouth, gums and neck, with his hand raised near his head; he is bathed in the white light; several images of him again, his face looks worse than before, he is clearly being burned alive, there are burns around his right eye, his neck looks worse, more blood; there are flames or that white light; and the man again looking straight out, as he has throughout all of the visions, at whomever has put him inside that room. There has also been the sound of a fire burning throughout. End of vision. :PENSEYRES: - which would indicate extreme heat. :FRANK: What kind of heat? :PENSEYRES: Bone carbonizes at 1400 degrees, but I'd put this at 21- 2200. :FRANK: What about the ear? :PENSEYRES: It shouldn't have survived. I don't know how it did. But we pulled a mold and - :pulls out a small box from his other pocket. It is the ear in some formaldehyde. :PENSEYRES: - something else, something just as lucky. :shows them the ear. :PENSEYRES: The tissue contained traces of lysergic acid, LSD, also phosgene, a relatively uncommon gas best known as a by-product found at accident sites, most commonly chemical plants using carbon tetrachloride. :FRANK: Dry-cleaning fluid. :PENSEYRES: Yeah. There was an accident at a big dry-cleaning facility here seven years ago. They've got a block of abandoned buildings down near Pier 23. Scene 5 :The abandoned dry-cleaning facility. The same one where Eedo was brought to, left and attacked. Water streams down from the missing roof portions above. :car pulls up to the block of buildings. Using flashlights, Watts and Frank search through one of the buildings. :WATTS: Not much left of anything. :FRANK: No. :they continue to search. :FRANK: Do we know who owns these buildings? :WATTS: The city. They've been for sale for years. No buyers. :comes upon the same large puddle of water where Eedo stood. It is blood red from the rusted iron debris all around. :looks into the puddle and has another vision: a jumble of images, none of which is clear; then finally the man, Eedo, as he was attacked on the ground where Frank now stands; a quick succession of images, most of which are blurred or flashes of white light, showing Eedo writhing in pain, being repeatedly struck. End of vision. :walks over a bit and looks up at where the water is streaming down from a broken pipe near the ceiling. Watts joins him. :WATTS: I don't know, Frank. What do you think they'd be doing in here? :at the pipe, he has another vision: he hears the creature growl and snarl; he sees the mouth, teeth, fangs of the creature. Clearly he has seen what Eedo saw through his LSD hallucination. End of vision. :walks over to another part of the building. :FRANK: Maybe this is where the victims were subdued. :shines his flashlight on the ground and finds another puddle of red liquid with human teeth in and near it. :FRANK: Peter. :up on the teeth. One in particular, has a gold crown. :to black :fade up :FORENSICS LAB :SAN FRANCISCO HALL OF JUSTICE :up of a pair of tweezers holding the tooth with the gold crown. Watts is holding some of the teeth up under a lighted magnifying glass so that both he and Frank can better see the objects. :WATTS: On the number 16 molar, there's a crown that's been done more recently than the other work. :FRANK: Any indication how it was removed? :WATTS: From the scoring on the enamel it looks like some kind of crude metal tool. :another tooth is held under the magnifying glass. :WATTS: There's a cuspid filling here that's pretty much state of the art. These other fillings are sub- standard compound amalgam - :gets up and walks over to a light box where he has x-rays of the teeth set up. Frank follows. :WATTS: - indicates something important. :FRANK: They were done somewhere else. :WATTS: There were two root canals here, which were done with a process known as N-2. They look different in the x-rays. You'll find this kind of work coming out of Eastern European countries, out of Russia. I think the poor general condition of the teeth would suggest the latter. :FRANK: Who's running this through the records? :WATTS: Penseyres is working with the P.D. on it. :door opens behind them. Penseyres enters with another man, Mike Atkins. :PENSEYRES: Got a surprise for you guys. :WATTS: Well, look who came down from the mountain! :and the man shake hands. :WATTS: What are you doing here, Mike? :ATKINS: Caught the same fish three days in a row - big brown, 5- 5 1/2 pounds, if he's an ounce. :and Watts exchange glances and smiles at the story. :ATKINS: Figured the fish and I both needed the day off. :looks over to Frank, who had remained quiet and apart from it all but then finally walks over to greet him. :FRANK: Hi, Mike. :ATKINS: Frank. Thanks for coming on such short notice. :FRANK: Some case. :ATKINS: Yeah. :PENSEYRES: We just need a break on these dental records. :ATKINS: You have a second, Frank? :nods and leaves with him. :go for a walk outside of the building, across to a public park where there is a water fountain. Atkins pulls from his jacket pocket a small yellow envelope and hands it to Frank. :ATKINS: I never told anyone about these - as you asked - :removes the contents from the envelope. These are the same Polaroids he received when he and his family first moved to Seattle, photos of Catherine and Jordan with a Seattle cab behind them at the curb; the two of them shopping; in Catherine's car, etc. :ATKINS: - but I want you to know I was very upset when I opened the package and saw them. I can only imagine how you must have felt. :FRANK: Right. :ATKINS: I appreciate you confiding in me. :FRANK: You're the reason I was even able to come back to work, Mike. That I'm a member of the Group. :ATKINS: Does Catherine have any idea yet these new photos were taken? :FRANK: (shakes his head) I never like to keep anything from her but we've barely settled in. :ATKINS: I think you're right not to. :FRANK: Is that your threat assessment? :ATKINS: I think there's a low-risk potential in the photographer escalating from the stalking phase. Been three years since his first mailing and he's still keeping a safe distance. He doesn't want to be discovered. :FRANK: Even though he has followed us to Seattle. :ATKINS: I would be more concerned if I thought this was really about Catherine or your daughter. :FRANK: What do you mean? :ATKINS: He sends the photos to you, Frank. The envelope has your name on it. What's the object of terrorism? :FRANK: Terror. :ATKINS: That's all he wants at this point. :FRANK: Then he's a success. You got anything else, Mike? :ATKINS: Film was purchased in the state of Washington. Beyond that, he's taken care not to contaminate the film or the package with anything I could pull. :FRANK: You come all the way out here just to allay my fears, Mike? :ATKINS: It would be the easiest thing in the world to go home, be with your family, Frank. But we need you here on this one. We need your abilities. I have a bad feeling about this case. :FRANK: I think it is not like any other case I've ever seen before. :ATKINS: That would be my threat assessment. :nod in agreement. Scene 6 :young man on the phone, tries to solicit a sale of some product to a customer. :BOB: Hi. My name's Bob Smith, and I hope you have a moment because I have a one-time offer on a new hair-care product I think you won't want to pass up. :man walks past Bob as the camera slowly turns around him, always keeping him in the foreground still speaking on the phone yet showing an entire room filled with other young men, all doing exactly the same thing. :BOB: Would you like to try our product absolutely free? (short pause) Well, terrific. I just need your name and address. Uh, and a credit card number for future purchases. :camera pans along the rows of tables, each with young men similar to Bob, all speaking to prospective customers on their phones and writing down the information received. :the head of the room is a screen. Projected on it are the words: 'CREATE DESIRE' :young man walks past several of the others on the phone, checking their order forms briefly. He stops before the same young man who offered Eedo the advice to run at the start of the episode. He's sitting there in a daze, phone in hand, but not speaking. The man, the Dark Prince from before, checks his order form. :D.P.: No orders written? :MAN: Not yet. :D.P. replaces the order form and walks away. The man, still in a daze, watches him as the person on the phone speaks up. :WOMAN: Hello? Is anybody there? :MAN: Hi. My name is Bob Smith. I hope you have a moment. :screen now projects: 'EVERYBODY WANTS BEAUTIFUL HAIR' : :Penseyres and Frank are driving. Penseyres has managed to identify someone through dental records. Frank is looking at several items including his college ID: :Petaluma [ Photo ] Community College :Eedo Bolow (signature) :883401-3948 GROUP Eedo Bolow :VALID ONE YEAR Expires JUNE 95 :PENSEYRES: The dental records matched a missing person report from six months ago, filed by the kid's parents. :reads aloud portions of the rest, including the family history and Eedo's rap sheet. :FRANK: (to Watts) Mother and father were naturalized citizens. Immigrated from Chechnya in 1990 when the son was 15. The kid had a nice rap sheet: B&E, minor assault, possession. Parents' address is 13235 Liberty Avenue. :Watts pulls up to the house, a police squad car is already at the scene. Two officers are standing by the car, talking. :another officer is standing in the hallway as Watts and Frank enter the house. The officer nods at both of them and points to the dining room where Eedo's father is sitting, head bowed resting on his hand. :FRANK: Mr. Bolow? :BOLOW: Yes? :FRANK: I'm Frank Black, this is Peter Watts. Very sorry about your son. :nods and sniffles. :WATTS: We're trying to find out how this might have happened to him. :BOLOW: Six months you couldn't find Eedo and now you want me to help you? :FRANK: We're not from the police department, Mr. Bolow. We believe your son might be one of several victims. :BOLOW: He wouldn't listen to us. (sighs) Eedo had his own ideas - put in his head by these friends of his. :WATTS: What friends, Mr. Bolow? :BOLOW: Driving those German cars - all he could talk about. Then one day Eedo comes home driving one too. Selling products nobody wants over the phone. :FRANK: Do you know where he worked? :BOLOW: No, he said he couldn't tell us. He said he was going to be rich. :WATTS: Had you heard from him recently? :BOLOW: Yeah, six months ago, he sent us a letter - a terrible letter. That's when we called the police. My wife was so ashamed, she wanted to burn it. :gets up and goes into the other room where his wife is sitting. They both speak Russian as he asks her for the letter. She gives it to him. He brings the envelope out to Frank and Watts, removes the letter from the envelope and hands it to Frank. There are two handwritten pages. :BOLOW: It's in Russian. You want me to translate? :FRANK: We wouldn't want to put you or your wife through that right now. Thank you for letting us read it. :WATTS: Mr. Bolow, it would be a big help if we could have a look at the envelope too. :hands it to Watts. :WATTS: Thank you. Scene 7 :forensics lab. Watts, apparently fluent in Russian, goes about translating the letter for Frank and Atkins as they go over it, line by line. A copy of the letter is projected onto a screen. :WATTS: The salutation is to his mother. He's disowning her. 'I am cutting the ties that prevent my ascendance to a higher stage. My birthrights and all my former worldly possessions have been burned in a sacrificial fire of my new faith.' :ATKINS: Cult indoctrination. :WATTS: There's a reference to fidelity and duty and burning in the fires of Gehenna: 'If I should dishonor myself or my new brothers.' :ATKINS: 'Gehenna' is Hebrew for hell. :replaces the first page with the second and continues translating. :WATTS: 'I have seen the all-powerful one in the pouring red rain and I fear nothing - ' :has a quick flash as Watts speaks: he sees Eedo with something red (blood?) splattering his face; it begins to cover his face and hair. End of vision. :WATTS: '- but his wrath and vengeance.' :again sees Eedo: his face and head now soaked in blood. :WATTS: 'The end is coming. The numbers have been miscalculated. 24 times 15 are 360, adjustable by - :ATKINS: (finishes for Watts) 286.1. :Frank and Watts turn to look at Atkins. :ATKINS: There is a deliberate error in the Great Pyramid in Giza, an architectural anomaly that some prophets have cited as an error in our calculation of the true calendar year. Some believe it sets the date of the apocalypse in 1998. :enters the room, contributing to the conversation. :PENSEYRES: Plan your investment strategy accordingly. :WATTS: (sigh) He says the weak and the indolent shall perish. That he is with his new family now and he must renounce his parents just as he renounces his belief in anything but the power of the enterprise. And that the power of the enterprise resides in the hearts of the faithful. :shuts off the overhead projector. :FRANK: And in the ashes of the dead. :WATTS: Somebody really got into this kid's head. :ATKINS: I'm not sure he's writing out of faith. :FRANK: I think he's writing out of fear. :WATTS: Could have been forced to write it. :ATKINS: (shakes his head) Too many intransitive verbs. :FRANK: The imagery - very powerful, very personal. :ATKINS: The use of the word 'Gehenna' is strange. It's usage is archaic and found only in certain Old Testament translations. :WATTS: Maybe he went to Hebrew school. :ATKINS: Somebody powerful got a hold on this kid, that's for sure. :FRANK: Or some thing. Scene 8 :the Black residence. The security lights turn on as Catherine pulls up in her blue mini-van. She parks the car, gets out and walks over to wake up a sleeping Jordan in the front seat. :CATHERINE: Wake up, sweetie. We're home. :picks up and carries the child into the house. :from across the street, a man's leg can be seen in the darkness, as the security light goes out. :Ben is barking as Catherine comes down the stairs. :CATHERINE: (to Ben) You waiting for me? :dog continues to bark near the door. :CATHERINE: You want to go outside? :bends down to pick up the day's mail. As she looks through it she is startled by a man's silhouette visible through the leaded-glass front door. :to black :fade up :silhouette is still visible through the glass. Catherine is frozen, not sure of what to do next when: :MAN: Catherine? :voice sounds familiar to her. He moves closer to the glass. His face becomes recognizable. :MAN: Catherine, it's- it's Bob Bletcher. :CATHERINE: Bob? :BLETCHER: Yeah. :opens the door, relieved. Ben barks again as Catherine tries to hold him back. :BLETCHER: Is everything okay? :CATHERINE: Yeah. Actually, you scared me half to death. :BLETCHER: Oh, I'm sorry. I was, uh, well, Frank had given me a call, asking if I could stop by. I think he was a little worried about you and Jordan. :CATHERINE: Oh, I'm sorry. Thank you. Uh, we're fine. Really. :BLETCHER: You're sure? :CATHERINE: Yeah. I just wasn't expecting anyone. Would you like to come in? :BLETCHER: No, no, that's okay. :looks at his watch. :BLETCHER: I- I know you got your little girl to put to bed. :CATHERINE: I'm going to put some coffee on, okay? :and Bletcher then are seen sitting at the dining room table, drinking their coffee. :CATHERINE: So, how much has he told you? :BLETCHER: About his breakdown? Only a little bit more than I'd already heard. Told me about the Polaroids that someone took of you, and that after he found them, he couldn't leave the house. That he was afraid to leave you alone. :CATHERINE: He was paralyzed, Bob. Not by fear - by something much deeper. By understanding. :BLETCHER: Yeah, he talked about that. About being able to see into the darkness. That he'd developed a kind of, uh, facility to see what a killer sees. :CATHERINE: As well as you know him, as long as you two worked together, I don't think anyone can appreciate exactly what that must be like. :BLETCHER: No, but I'm sure you know better than anyone. :CATHERINE: I don't know how he was able to do it. I don't know how he ever went back to work. :BLETCHER: Well, he was approached by this Millennium Group. :CATHERINE: Yes, but, Frank went back to work because he had to. It's who he is. Sometimes I think of Frank as the catcher in the rye - standing at the edge of the cliff trying to save the world - but he can't change anything. All he can do is catch these horrible men before they kill again. (pause as Bletcher smiles) And that's why I can never let him think that Jordan and I aren't perfectly safe in this perfect house and perfect world that he's tried to give us. (short pause) Because I know, if he ever thought differently - next time he'd never be able to leave. : :The two German-made cars (BMW?), which appeared at the start of the episode, again have arrived at the abandoned dry-cleaning plant. :loud rap music can be heard blaring from their car radios (Cypress Hill - 'Hits From the Bong' again from Black Sunday). :circle round and round till they finally come to a complete stop. The occupants of both cars get out, including the second telemarketer 'Bob Smith' who is smiling broadly, obviously high on the same LSD Eedo had taken prior to being brought to the area. 'Bob' seems unaware of what's happening to him. :{Music: "... the bubbling water is makin' it pure so I got ta take my hit and hold it. Just like Chong, I get the bowl and I reload it."} :others encircle him and begin taunting and whooping just as they did with Eedo. This time they do not bark at him but screech and squawk as if they were birds. Music continues throughout. :{Music: "Get my four-footer and bring it on, as I take hits from the bong."} :POV shifts to a green-tinged view through the night-goggles. The men all run back into their cars, leaving 'Bob' dazed and confused as they circle around him just as they did with Eedo. Again, the POV shifts to the man with the goggles who is watching the entire proceedings from high above. :again reacts as did Eedo, by running off into one of the buildings while the cars continue to go around in circles, the young men all hanging out from the car windows whooping and hollering at him as he runs. :runs directly into someone's arms. Terrified, he screams. It turns out to be Frank, who has been waiting quietly and unseen, in the building during all this. He tries to break free from Frank. :FRANK: It's all right. I'm not going to hurt you. It's okay. Scene 9 :SAN FRANCISCO POLICE DEPARTMENT :it is raining. Inside an interrogation room, Watts is talking to 'Bob' but not getting much from him. Penseyres is also present. Atkins watches and listens through a two-way mirror from the next room. :WATTS: How long have you been in San Francisco? :'BOB': I don't know anything. :WATTS: Come on, what were you doing out there tonight? :door to the observation room opens and Frank enters with two cups of coffee. :'BOB': My name is Bob Smith. :FRANK: Anything? :WATTS: So you've said. Are you afraid of something, is that why you won't talk to me? :hands Atkins one of the cups. :ATKINS: Not yet. Only given his name as Bob Smith. He's saying that they're talking to a dead man. :turns and looks at Frank who continues to stare through the glass at 'Bob.' :ATKINS: What were you doing out there, Frank? :FRANK: Went back to satisfy a curiosity about what happened out there that night. :ATKINS: And? :FRANK: I think I know what he's afraid of. :ATKINS: Then maybe you should talk to him. :the interrogation room, 'Bob' sits with his back to Frank. :FRANK: You've seen it, haven't you? Seen the hideous face, just like Eedo did. Seen the red rain falling and the face of the beast. :slowly turns to face Frank. :FRANK: I've seen it too. I know why you're afraid. :has more quick flashes of: Eedo on the ground, in torment, blood covering his face; flashes of bright white light; more images of Eedo screaming throwing his head from side to side, bathed in blood. Sound of screams and gurgling throughout. End of vision. :FRANK: But you're safe from it now. :'BOB': No one is safe from it. You don't know what you're talking about. :Atkins and Penseyres are watching and listening from the other room. :FRANK: How can it touch you here? What could it do to you here? :'BOB': You don't understand. It knows. It knows everything. It knows the numbers. :FRANK: What numbers? :'BOB': That's all there is: phone numbers, serial numbers, card numbers. You and everybody else. That numbers are all we are. It knows your numbers and it knows you. :FRANK: What does it want? :'BOB': Obedience. Obedience and control. :FRANK: In return for what? :'BOB': To share in the power when the end comes. When the everlasting fires rage in the year of destiny. When the weak and the indolent perish. :has grown more and more upset and finally tears stream down his cheeks. :'BOB': (crying) They told me we were going to be rich! That we were the chosen ones! That discipline was the way to our own salvation. :shifts to Watts, Atkins and Penseyres in the other room. :'BOB': That prosperity was power. :shifts back again to the interrogation room. :'BOB': And they said we could leave whenever we wanted. It was a lie. :again flashes on several quick images of: Eedo, trapped inside a room, screaming at a small window, blood coming from his nose and mouth. End of vision. :'BOB': No one could leave and it made us turn on each other. :FRANK: Did it kill Eedo Bolow? :begins to look very frightened. A quick succession of images of the creature: horrific close ups of his body; his wings; his teeth; several images of the man with the goggles; Eedo writhing on the ground; the creature's fangs; again the man with the goggles and finally, the creature again. :these quick cuts, he has been looking at Frank. Once they are over, he says: :'BOB': (more calmly) Yes. Because he was weak. Because he'd lost his discipline. :brief images of the creature and the man with the goggles. :'BOB': Just like the others did. Just like I did. Once you've lost your faith in discipline - it will devour you. :final quick series of images of: the creature's teeth; the man with the goggles; the creature coming closer and closer; and of the full upper torso and head of the creature. :'BOB': Nothing can save you from it. You can't save me from it. :begins to tremble, every part of him shaking, his eyes roll back. He begins to gag. Frank jumps up and grabs the young man by the arms. :FRANK: Hey! :others, watching in the other room, rush out to see what they can do. :lowers 'Bob' to the floor and begins performing CPR, compressing his chest with his hands. :FRANK: God! :frantically working on 'Bob' when Watts, Atkins and Penseyres enter the room. Watts shoves a chair aside and kneels on the floor next to 'Bob' as Frank continues to work on him. :ATKINS: (to Penseyres) Get a doctor! :runs out the door. :pulls back the man's head to clear the airway. He checks for a pulse and finds none but Frank won't give up. He continues to compress the dead man's chest. Watts shakes his head, knowing the effort to be futile, yet Frank still won't concede defeat, even when Watts tries to stop him. :to black :fade up :outside the police department at a small park. Frank stands alone, stunned by the recent incident. Atkins walks over to speak with him. :ATKINS: Go home, Frank. I think you should go home, see your family and get some rest. :FRANK: That kid died of fright, Mike. :begin walking. :ATKINS: He was so full of LSD, we'll never know what he died of. :FRANK: He couldn't escape it, whatever it was. What could be so powerful that you couldn't escape it? :ATKINS: What you described in there last night - the face of the beast. :FRANK: I saw it, the day I arrived. :ATKINS: I've seen the face of evil, Frank. I've looked into its eyes, seen it staring back at me. The face has always been a man's face, a human face. I've always believed that evil is born in a cold heart and a weak mind. :FRANK: I have too. :silent pause between them. Scene 10 :outside the Black residence. Frank is making some final adjustments to the security lights. He then climbs down the ladder to find his neighbor Jack Meredith there to greet him. :JACK: Hi there, Frank. See you were gone for a few days, huh? Work? :FRANK: Hi, Jack. Yeah. :JACK: Working with that consultant group you mentioned? :FRANK: Yeah. :JACK: Yeah. Yeah, consulting. That's one of those things you always wonder exactly what that means, you know? :FRANK: Well, basically, we're given a problem. We try to solve it. :JACK: Oh, I see. Yeah. So, did you solve the problem you were working on? :FRANK: No. No, I didn't. Couldn't even make sense of it. :the Black bedroom, sometime later, Frank reads various passages from the bible, still trying to make some sense of the events of the past few days. He reads from Ephesians, in particular, a note on Chapter 6, Verse 16: 'In addition to all this, take up the shield of faith, with which you can extinguish all the flaming arrows of the evil one. The rulers of the darkness of this world are contending for mastery over the bodies and minds of all members of the human race. He turns to the Book of St. Matthew, Chapter 25. He runs his finger down the page to this passage from Verse 41: "Depart from Me, ye cursed, into everlasting fire, prepared for the devil and his angels." There is a close up of the passage on the screen. :continues to read as Catherine enters the room. :CATHERINE: Did you want to say good-night to Jordan? :FRANK: Yeah. :closes the book. Catherine, seeing what it is, teases him. :CATHERINE: I hear it's a real pot-boiler - full of treachery, death, violence. :FRANK: Yeah. :CATHERINE: Looking for moral guidance, or just a little light bedtime reading? :FRANK: Just some answers, I guess. Something happened down in San Francisco. :CATHERINE: Anything you want to talk about? :FRANK: I'm just confused about something I thought I understood about evil. What it is, exactly. :CATHERINE: You mean, what causes it? :FRANK: It seems that the old biblical concept of the devil's influence has lost any currency. :CATHERINE: I just think the language has changed. I think science and psychology have given us a clearer idea of why people commit evil acts. I see it everyday, abused kids become abusive adults. :FRANK: So the true source of evil is us. :CATHERINE: You mean, are we all capable of it? :FRANK: Or is there something out there - a force or a presence - waiting until it can create another murder, another rape, another holocaust. :CATHERINE: I think it's something that everyone who looks deeply at life wonders. :FRANK: What would you tell a child? What would I tell Jordan? :CATHERINE: Maybe you should just tell her good-night. :who has been sitting on the edge of the bed, gets up and walks over to Catherine and kisses her. :Jordan's bedroom, she's fast asleep, uncovered and on her side by the edge of the bed. Frank gently turns her so that she's on her back, then covers her. He stands there for a moment smiling down on his child. Scene 11 :Frank heads down to his basement office and turns on his Mac. The on screen message reads: 'Hello Frank... Starting up...' :a PPP Dialog Box comes up on the screen: :> INIT MODEM > OK > DIALING 2:16 9x66 57600 N81 :the modem dials in, Frank picks up a book and looks up the word 'Gehenna.' The definition reads as follows: Gehenna /ge'hene/ n. 1 (in the New Testament) hell. a place of burning, torment, or misery. Latin via Greek from Hebrew ge hinnom 'hell' originally the valley of Hinnom near Jerusalem where children were sacrificed. :he's finally connected, a Search net query form appears on screen. He types in: 'Gehenna' and clicks on 'Search' as his phone rings. :pauses for a moment because it's after 2am. He picks up the phone. :FRANK: Hello? :ATKINS: Frank? It's Mike Atkins. Sorry for calling so late. :FRANK: I'm up working anyway. :shifts to Atkins who is still at the forensics lab in San Francisco. The camera alternates POV somewhat during their conversation. :ATKINS: So am I. :FRANK: Where are you? :ATKINS: Still in San Francisco. We got our forensic data back on the dead boy earlier tonight. Found something we weren't expecting. :FRANK: What? :ATKINS: Kid's clothing and tissue showed traces of an insecticide used in the making of something called sarin. :FRANK: Sarin gas. :ATKINS: Which was used in the terrorist attack on the subway in Japan. The leader of the cult believed responsible is on trial for that attack as well as several other murders. Do you know how they say he disposed of his victims, Frank? :FRANK: An industrial scale microwave. :triggers another vision for Frank. He sees: a hand clawing at a window; Eedo screaming throughout, blood coming from his gums, covering his mouth, his hand pounding repeatedly on the glass; Eedo finally weak from the heat the microwave produces slumps down, only his hand still visible on the glass, briefly before being consumed in flames. His screams trail off at the end. End of vision. :ATKINS: He'd amassed over a billion dollars. Been trying to buy weapons from the Russians. They think he may have even been trying to get hold of the Ebola virus. :FRANK: He wanted to bring on Armageddon. :looks at his computer screen. The results of his search have finally been found. :ATKINS: Could it happen here, Frank? :doesn't respond because he's reading the results. Partial view on screen reads as follows: :Place of Darkness --https:///www.neoctiy... " content=" Scott's Guid... :on Vampire, Mage, Chan... name="keywords" conte... :Gehenna --https://www.gehenna... may contain strange ic... :cigarettes alcohol, nitr... :and/or other things not... :Gehenna International, PTY -https://www.ghi.com/in... :Gehenna International, r... New York, Monaco, San F... :ATKINS: Frank? :FRANK: Listen, Mike. I found something - a business listing for Gehenna International. :camera pans across the screen which now reads: :Gehenna International, PTY -https://www.ghi.com/index.html (Score 89, Size 12K) Gehenna International, reg Cayman Islands. Industry chemical holdings. New York, Monaco, San Francisco, Tokyo, Sydney, Cairo. Storage plant. :FRANK: It looks like an offshore holding company. :ATKINS: What does it hold? :FRANK: Industrial products - chemicals. :he scrolls down the screen to see the individual listings for the plants, he finds the following listing, only partially visible on screen: :...International, PTY-San Francisco ...tp://www.ghi.com/sanfran.html ...enna International, reg Cayman Islands. ... York, Monaco, San Francisco, Tokyo, Syn... ...mical storage areas, contaminated mate... :FRANK: They list one of their plants in San Francisco. :ATKINS: I'm on it. :both hang up. The moment Frank does, he has second thoughts. He then picks up the phone and tries to call Atkins back but no one answers. Atkins has already left the lab. Frustrated, Frank slams down the phone. :in their bedroom, Catherine is in bed reading a book. As Frank enters the room, he looks worried. He looks back toward the hall. :CATHERINE: What? :FRANK: I don't know. I just have a very bad feeling about something. :walks over to the phone and dials a number. :outside at the plant in San Francisco, it is raining heavily as Atkins drives up and parks. :Atkins looks around with a flashlight. He walks through an storage or records area with many stacked boxes. Then he enters a large room filled with tables, chairs and phones where the telemarketing 'Bob Smiths' earlier were selling that hair-care product. :on a screen at the head of the room now is the message: 'FACILITATE ENVY' which then clicks into: 'WORK WILL SET YOU FREE.' :Atkins turns, he notices an inverted dome in the ceiling, the kind used as a security measure in some places. He looks directly up at it. We look through it down at him. The color is green, identical to that of the night-vision goggles. When Atkins finally walks away, we see that the POV has indeed belonged to the man with the goggles. :continues through a warehouse area with row after row of shelving up to the ceiling, each teeming with boxes, crates, barrels of various materials. He comes upon some barrels labeled: 'FLAMMABLE - SODIUM FLUORIDE' and some wooden crates marked: '66' inside of a triangle; some Chinese characters; '11071-120/126'; and 'REPUBLIC OF CHINA.' :prises open one of the crates with a crowbar, slashes open one of the paper packages which contains an assault rifle and an ammo clip. :still raining, several police cars are rushing to the plant's location - the backup which Frank had called for earlier for Atkins. :Atkins continues till he finds a very large metal door with a small glass window and a handle. An industrial scale microwave. The door is ajar. :looks inside the chamber, pushes back the squeaking door and sees a huge pile of ashes filling half the chamber. By the rear wall, some objects can be seen half-buried in the ashes. :steps closer for a better look at the objects which look like skull fragments. As he bends down, the door behind him can be heard squeaking again as someone slams it shut. :runs to the door and begins pounding on the glass. :ATKINS: Hey! Hey! Hey! Let me out! Hey! Hey! :microwave has been turned on. He looks out of the glass and sees the man with the goggles looking right back at him. He continues to pound on the glass. :ATKINS: Hey! :claws at the glass with his fingers as the heat increases and begins to overcome him. :S.W.A.T. team enters the warehouse area and makes its way towards the oven and Atkins. Watts and Penseyres also run in that direction with several other local detectives. :collapses in the oven, falling out of sight below the window. :groups finally reach the oven. :WATTS: (shouting) Turn it off! Turn it off! :and Penseyres pull open the door and Watts rushes inside to help Atkins. :PENSEYRES: Get an ambulance! Go! Go! :they try to remove Atkins from the oven, there's a great deal of shouting done by many on the scene. :1st MAN: Get him out! :2nd MAN: Clear the way! Make way! Move him out! Move away! :to black. Then audio fade in: :REPORTER: San Francisco law enforcement agencies worked in tense cooperation in the roundup and arrest of what is being referred to as a death cult - :gradual video fade in of a television news broadcast showing several young men, members of the cult following (the telemarketers) being arrested. :REPORTER: - whose aim is believed to be nothing less than mass destruction. :screen, also being arrested, is the man with the goggles, the leader of the cult, as he is being put inside a car. Watts and Penseyres can be seen walking behind him, talking. When they see the news camera, they back off out of range. :REPORTER: The suspected leader is a former chemical engineer named Ricardo Clement. :is watching the news at the police station. :REPORTER: He is being held under the suspicion of murder of at least one cult member. Authorities confiscated a large cache of biological and other weapons purchased on the global black market. :turns and enters a room behind him. There, he can listen and watch through a two-way mirror as Watts tries to question Clement in the next room. :WATTS: How many boys died in there? How many kids did you send to their death? Ten? Twenty? :does not react nor respond to any of the questions. He just sits stone faced and unflinching. In frustration and anger, Watts shouts: :WATTS: What the hell are you?! :reaction. No response. Watts storms out of the room, slams the door and walks over to join Frank who has not taken his eyes off Clement since entering the room. :WATTS: :(sigh) Nothing. :suddenly turns and stares directly at Frank through the mirror on his own side. :WATTS: Absolutely nothing. :rises from his chair and walks over to the mirror and stands exactly in front of Frank, looking directly at him, as if the mirror/glass weren't there at all. :has a last vision as Clement stands before him. He hears screams throughout and sees several images of the creature's fangs and of the creature himself. End of vision. :FRANK: I think I know. :WATTS: What? :gaze is fixed on Frank, unblinking. :FRANK: Who he is. I got to get out of here, Peter. :leaves the room. : Scene 12 :hospital. Mike Atkins is in intensive care with numerous machines and monitors hooked up to him. He is in an oxygen tent. Frank sits by the bed, keeping vigil. :opens the door to the room. :PENSEYRES: Frank. Your wife's here. :leaves the room and walks with his wife as they talk. :FRANK: You didn't have to come. :CATHERINE: I wanted to be here. I wanted to be here with you, Frank. I know it's what you fear. :FRANK: What? :CATHERINE: Losing control. Having something like this happen to someone you care about. :FRANK: He had serious internal cellular damage from the radiation, but the doctors say he'll pull through. :CATHERINE: I know, and he will. I know you know this. How many other lives you may have saved? How many people could have been hurt by those weapons? :FRANK: I know. :CATHERINE: You did what was important. You did what you set out to do, Frank. You caught the bad man. :FRANK: I'm not so sure. :CATHERINE: Not sure of what? :FRANK: Not sure - not sure if the bad man can be caught. :pulls her close to him and they embrace. :titles Chronology *Previous - Pilot (Millennium)/Transcript *Next - Dead Letters/Transcript Source Category:Millennium transcripts